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the:- roll call 

A MASQUE OF THE RED CROSS 



Hv- I*! IXY M.ALK.V1 1 



IMPORTANT NOTICE 

This masque may readily be produced in small 
communities, with amateurs taking the leading 
parts. 

In preparing the instructions and suggestions in 
the appendix, it has been necessary to make pro- 
vision for great productions in large cities, but by 
a judicious elimination of such items as are im- 
practicable in the smaller towns, the masque may 
be effectively done, on a modest scale, by a limited 
number of people. 

Concerning materials needed to produce the 
masque, which will be furnished at cost by the 
iSrh (Eroaa QUrriatmaa SRall (Enll, see ANNOUNCE- 
MENT on last page of this volume. 




THE ROLL CALL 



A Masque of the Red Cross 



by 
PERCY MACKAYE 



+ 



IB^h OlrnsB OlifrtBtmHB Holt (Eall 

NATIONAL HEADQUARTERS 

AMERICAN RED CROSS 

WASHINGTON, D. C. 

1918 



<0 






Copyright, 1918, by 
Percy MacKaye 



All Rights Reserved 



NOTE: For information concerning the right 
to produce this Masque, address Red Cross 
Christmas Roll Call, The American Red Cross, 
National Headquarters, Washington, D. C, and 
see Announcement on last page of this book. 



ynANSPg.ix::etO 



THE ROLL CALL 



A Masque of the Red Cross for 
Community Acting and Singing 

by 
PERCY MACKAYE 

With Scenic and Costume Desig^ns 

by 

ROBERT EDMOND JONES 

and Cover Design by 
ARNOLD GENTHE 



Together with 

An Appendix of Instructions and 

Suggestions Concerning the Production 

OF THE. Masque 

written by 

the Author and Scenic Designer and 

Irving Pichel 

Director of the initial 

production at Washington 






l^ 



PREFACE 

At the invitation of the American Red Cross, 
National Headquarters, Washington, this Masque 
has been written, with the aim in particular of 
serving the cause of the ^h (UtoBB GIl|rtBtmafl iRoU 
dall — the enrolling of Universal Membership under 
the Red Cross — and in general of providing a dra- 
matic expression of the Red Cross Spirit useful to 
its world-wide organization at any time. 

For this purpose, it aims by its construction to be 
of service anywhere to communities, large or small, 
on a scale modest or elaborate according to local 
conditions: 

In order to render its production the more prac- 
tical and simple, the text here printed is followed 
by an Appendix containing explicit designs in color, 
together with comments regarding such details of 
acting, lighting, setting, music, costumes, etc., as 
seem pertinent and suggestive. 

A growing, vital ideal of education in our new 
age urges the principle that all who seek to under- 
stand and grasp the essentials of their environment 
— whether in trade, labor, art, government, or the 
great social movements of our time — shall person- 
ally share and take some definite part in doing that 
which they aim to understand. 

That principle — participation — is the prime mo- 
tive of community drama. 

To take positive, voluntary part in creating and 
interpreting a dramatic production imbued with a 
large human theme, quickens the interest and imag- 



PREFACE. 



ination of the participator with fresh understand- 
ings of its theme in ways more deep and enduring 
than any mere negative witnessing of a play, read- 
ing of a story, listening to a lecture, or studying 
of a treatise, created and developed wholly apart 
from his own initiative. 

To the unnumbered workers for the Red Cross, 
their own share of service in that great social 
organism is a kind of educating experience based 
essentially in this vital principle — participation. 

It has seemed, therefore, to the writer that the 
kind of expression in art peculiarly adapted, by 
kinship, to the use and inspiration of such workers 
is the form of community drama — a manifold form, 
capable of infinite variety. 

So it is with the relish of a sincere hope, and with 
a quick sense of the high privilege conferred on 
him, that he submits to their use the simple experi- 
ment of this community Masque. 

Percy MacKaye. 
New York: 2^ October, 1918. 



CONTENTS 

INTRODUCTORY 

PACK 

Preface vii 

List of Illustrations x 

Persons and Groups xi 

Choruses xii 

TEXT OF THE MASQUE 
In a Prelude, Ten Actions and mi Epilogue 

Prelude. The Doorway i 

I. Mother and Daughters 3 

11. Shadows of the Despoiler 7 

III. The Despoiler 10 

IV. " Lonely and Starless " 13 

V. All Hearts 17 

VI. The Sons 23 

VII. " Magic of Mercy " 30 

VIII. " Light of New Worlds " 35 

IX. The Red Cross 37 

X. The Drums 40 

Epilogue. The Roll Call 42 

APPENDIX 
Instructions and Suggestions by Percy llacKaye, Concerning 

I. Community Song-Overture 45 

II. Community Song-Finale 45 

III. Interpretation of the Masque 46 

IV. Production 47 

Instructions and Suggestions by Robert Edmond Jones, 
Concerning 

I. Costumes and Masks 54 

II. Setting and Lighting 56 

Production Notes, By Irving Pichel 61 

Announcement 65 

ix 



LIST OF ILLUSTRATIONS 

PLATE FACING PAGH 

1. /. GROUND-PLAN i 

//. SCENES 

2. Stage Setting of the '" The Roll Call " .Frontispiece 

PLATE FACING PAGE 

3. Tableau of the Despoiler 14 

4. Tableau of All Hearts 36 

///. COSTUMES 

PLATE FACING PAGE 

5. Mother 4 

6. Despoiler 10 

7. All Hearts 50 

8. . Rapine, Terror 6 

9. Hate, Hunger 8 

10. Poverty, Pain, Pestilence 16 

11. Daughter, Heralds 54 

12. Child, Chorus, Child-Spirit of Pity 52 

IV. INSIGNIA 

PLATE PAGE 

13. Pageant. Insignia I (Main Divisions) 57 

14. Pageant. Insignia II (Sub-Groups) 59 



PERSONS AND GROUPS 

(In the Order of their Appearance) 
SPEAKING PERSONS 

THE MOTHER 

THE DAUGHTERS 
Girl 
Young Woman 

THE DESPOILER 

THE SONS 

Soldier 

Sailor 

Laborer 

Aviator 
ALL HEARTS 

PANTOMIMIC PERSONS AND GROUPS 

THE CHILDREN 
Boy 
Girl 

FOLLOWERS OF THE DESPOILER 
(Men) 

Terror 

Rapine 

Hunger 

Hate 
(Women) 

Pestilence 

Pain 

Poverty 

FOLLOWERS OF ALL HEARTS 
(Men Heralds) 

Courage 

Mercy 

Reason 

Love 
(Children Attendants) 

Pities 



PARTICIPATING GROUPS AND LEADERS 

PAGEANT FOLLOWERS OF COURAGE 

BANNER-BEARER OF OVERSEAS DIVISION 

Reconstruction Groups, with Banner-Bearers 
Hospital Hut Groups, with Banner-Bearers 
Etc. 

PAGEANT FOLLOWERS OF MERCY 

BANNER-BEARER OF NURSES DIVISION 

Nurses Groups, with Banner-Bearers 

Nurses Assistant Groups, with Banner-Bearers 

Etc. 

PAGEANT FOLLOWERS OF REASON 

BANNER-BEARER OF ACTIVE SERVICE DI- 
VISION 

Canteen Groups, with Banner-Bearers 

Motor Corps Groups, with Banner-Bearers 

Etc. 

PAGEANT FOLLOWERS OF LOVE 

BANNER-BEARER OF PRODUCTION 
DIVISION 

Surgical Dressings Groups, with Banner-Bearers 
Knitting Groups, with Banner-Bearers 
Etc. 

CHILDREN HERALDS 

JUNIOR WORKERS DIVISION, WITH BAN- 
NER-BEARERS 

DRUMMERS 
TRUMPETERS 

CHORUSES 
1. (Women's Voices only) : Chorus of Womanhood. 
11. (Mixed Voices, with Soprano Solo) : Chorus of the 
All-Forsaken. 

III. (Mixed Voices) : The Power of Gentleness. 

IV. (Mixed Voices) : Chorus of All Hearts. 



THE ROLL CALL 



xm 




GROUND PLAN 



PRELUDE 
(The Doorway) 

IN the background, a Great Doorway rises in 
shadow, its massive gray doors closed. 
In the foreground, on either side, a Gate, 
lesser in size, is lit by a lantern above. 

Between the Doorway and Gates, walls — hung 
with gray — shut in an oblong space (forming the 
stage), at the centre of which a low seat is raised 
the height of one step by a larger dais. 

From the entire length of the oblong space, 
broad steps descend to the assembly place of the 
audience, through which four aisles lead to the open 
ground-space in front of the steps. 

Facing this space, at centre, between the two 
nearer aisles, is the place of the Community 
Chorus. 

From there, before the action begins. Women 
Voices of the CHORUS are heard singing, to a 
pensive music,* cadenced like the measure of soft, 
slow footfalls. 

THE CHORUS 
Earth! How dreamily 
Ope thy Doors of Life! — 
Dark and silently 
Close thy Gates of Death! 

By thy shadozv'd porch 
Waits our Womanhood: 
Far, on alien paths, 
War our battle hosts. 



* The Twentieth Prelude of Chopin, with slow cadence. 

I 



THE ROLL CALL 



When, ah, when — between 
Dark and dark — shall our 
Yearning Mother-Love 
Weld all hearts of Man? 



FIRST ACTION 

(Mother and Daughters) 

WHEN the Action begins, the stage is silent 
and shadowy. 
Then, sounding far off and muffled — en- 
circHngthe entire audience with a rhythmic rumbling 
— Drums begin to roll. At first hardly audible, 
their low beating quickens faintly louder, holds a 
sustained moment of murmurous thunder, and 
wanes again more slowly away into silence. 

With the first rumbling sound, one of the great 
doors opens a narrow slit and, through dim light 
from behind, the form of a Woman enters — a 
Figure nobly tall and graciously maternal. 

Clad in black, a grey-black veil flows behind and 
about her shoulders, sheltering below the forms of 
two half-nude Children in white — who cling to 
her. On the smocks of the Children, in rust-hued 
red, the imprint of a huge hand is vaguely out- 
lined. 

As the Woman comes slowly forward, with them, 
and sits on the low dais-seat, two other Female 
FoRMS^ clad in grey, glide through the closing door, 
and approach on either side. 

On the robe of each, below her left breast, in rusty 
red, the same huge imprint of a hand is visible. 

One of them, a lithe GIRL, pauses — listening — • 
and speaks to the seated Woman. 



THE ROLL CALL 



THE GIRL 
Mother — hear them : — the drums ! 

THE MOTHER 
Hush ! O, be still— be still. 

(Turning, the other One — a Woman, young- but austere- 
speaks low.) 

THE YOUNG WOMAN 

Listen, Mother: it comes 
Upward from valley and hill, 
Far-beating. — What can it be? 

THE MOTHER 

The call of our beating hearts 

Echoing back. We hear it 

Die where our hope departs; 

But time, nor eternity, 

Man, no. ministering spirit — 

None hears it but us, my daughters. 

THE GIRL 

Mother, why were we born 

Hallow'd by quiet waters 

In the faith of a beautiful, glad tomorrow, 

Only now to be torn 

By a tempest of shame and slaughters. 

Pent in a house of poisoned sorrow — 

Here — here — on our breasts the brand 

Of him — the Despoiler's hand? 



THE ROLL CALL 



THE YOUNG WOMAN 

Mother, where is he gone — 

Our father, Peace, who was with us 

Yesterday? Why in the dawn 

Did he walk in sleep, and bequeathe us 

Only a dream — his dreaming 

Of men in their noble seeming — 

To heal the horrible scar 

Of men as they really are ? 

For now — now the Despoiler is come. 

And this is our home — our home. 

THE GIRL 
He has taken the one I was to wed. 

THE YOUNG WOMAN 
He has taken my wedded one — he is dead. 

THE GIRL 
Is there no might in mercy — none ? 

THE YOUNG WOMAN 

Is there no champion of love — not one 

Who counts his own pain less than another's ? 

THE GIRL 

Where are your sons — our brothers? 

He sent them forth — the Despoiler there — 

He sent them through ocean and earth and air 

To spread his empire more and more: 

Ah, when will they turn to our father's door 

To avenge him, and restore? 



THE ROLL CALL 



THE MOTHER 

Brittle as the broken wings 

Of birds are woman's questionings. 

O women, — daughters of mine! 

*Tis ours to watch for a sign 

That never comes — that never comes. 

THE GIRL 

(Starts, with lifted face) 

Mother, once more I hear them — drums! 
Listen — their rolling call. 

(Faintly the murmurous Drum-Beats are repeated, and 
die away.) 

THE MOTHER 

The call of our hearts — 't is all 
And — nothing. 

THE YOUNG WOMAN 

Yet if we knew, 
Mother, it might be true 
That all we are hoping for — 

(Harsh, from within, a Brazen Gong resounds, and a 
hoarse Voice crying aloud.) 

THE VOICE 

More of my branding — more! 
Ho, Rapine! — Ho, Terror! 



Plate 5 




THE JMOTIiEK 



I'LATE 6 




THE DESPOILER 



Plate 7 




ALL HEARTS 



SECOND ACTION 
(Shadows of the Despoiler) 

INSTANTLY the two Gateways flare lurid with 
red and orange light, through which appear the 
sinister forms of TERROR and RAPINE. 
Little serpents gleam in the dark headplumes of 
Terror, and the gnarled horns of Rapine twist 
downward before his eyes. 

Entering, they come toward the two younger 
Women, who recoil before them. 

THE MOTHER 
(Cries faintly) 
No! 
No — not to these ! 

(Backing against the Great Door, the Young Girl swoons 
there. Before she falls, Rapine seizes her.) 

THE YOUNG WOMAN 

(Trying to intervene) 

Let go! 

(Herself, at the touch of Terror's hand, starts back, es- 
capes through the door ajar, and disappears, followed 
by the form of Terror and of Rapine bearing the Girl. 
Behind them the door-slit closes. 

Crouching at the centre, the Mother clutches to her 
more tightly the two Children. 

After a breathless moment of silence, she speaks to 
them low.) 



THE ROLL CALL 



THE MOTHER 

Little ones, now there is only 

You — ^you, for his orgy to squander. 

Here we have nowhere to hide, my lonely : 

But hush, we will wander 

Far from this old gray door; 

And Mother will find you some younger 

Beautiful home. 

(Rising, she moves stealthily with the Children toward the 
right Gateway, the Little Boy preceding her. There, 
in wan, grayish light, appears a Gaunt Form, who 
reaches toward them long, shrunken arms. Seeing it, 
the Child starts back to the Mother, who utters a 
sharp moan.) 

— Ah, Hunger ! 

(Turning, she starts with the Children toward the other 
Gate, where in greenish glow a Dwarf-like Figure 
glares at them slyly. Seeing it first, the Girl Child 
points, and clings to the Mother, who murmurs — 
staring.) 

Hate ! — He has sent them. 

(Again the dull brazen clang sounds from within, and 
through it the hoarse Voice^ calling.) 

THE VOICE 
More! 

(Drawing back to the centre, the Mother watches, tense 
and spellbound, while the two Figures move slowly 
nearer and more near — HUNGER, blindfolded, out- 
reaching for the Boy, HATE with eyes fixed on the 
Girl Child. 

As in trance, she speaks — gazing from one to the 
other.) 

8 



? 






THE ROLL CALL 



THE MOTHER 

. (To Hunger) 
A child— 

Who hath not eyes to love it? 
What hath a little child 
For you, in your horrible craving", 
Blind one, blindly to covet? 

(To Hate) 

How shall the undefiled 
Serve your enslaving? — 
Ah me! 
God leaves us utterly. 

(From her side, Hunger and Hate grasp the Children 
and — stifling their half-uttered cries — bear them off 
through the Door, disappearing. 

For an instaant, the Mother stands motionless ; then, 
with a shrill cry, she rushes toward the Doors.) 

Ha ! Give them back ! Set them free — 
Despoiler ! Despoiler ! 

(Through the Great Doors, ajar, glows a red-orange glare, 
casting a huge Shadow of Black, behind which the 
Voice speaks again.) 

THE VOICE 

Woman, 
What is your will? 



THIRD ACTION 

(The Despoiler) 

THE glare widens, and in the Doorway appears 
the DESPOILER — an immense Figure, clad 
in coppery brass and black. On his head 
towers a brazen many-spiked helmet; from his 
shoulders fall the rusty-red folds of his cloak, 
through which his right arm holds the staff of his 
Standard — the Mark of a Hand in Rust-Hued Red 
on Cloth of Black. 

To him the Mother lifts her face, entreating. 

THE MOTHER 

0, release them ! Let me fulfil 
The bond of their fate! 

1, who brought them human 
Forth unto earth, 

I, who conceived them — let me expiate 
The deed of their birth ! 

THE DESPOILER 

Woman, what is your will? — 

A little flame, in the wind : 

A candle flame in the night 

Held by a hand on a lone doorsill, 

To sputter and be spinned 

By the storm of the Infinite. 

10 



THE ROLL CALL 



THE MOTHER 

Yet me — through me they have lived, 
And all that my will has conceived — 

THE DESPOILER 

All that your will has conceived — mine, mine shall 
wwcreate ! 

THE MOTHER 
(Sinking down on the seat) 

Yet — yet — not only me their mother: 

There was another 

By whom they were begotten 

In beauty — 

THE DESPOILER 

Aye, — your mate, 

Their father, Peace! Where now is he 
To staunch your agony? 

THE MOTHER 
Ah! 

THE DESPOILER 

Here he made his home. 
Muddled and glad and besotten, 
He laid him down to dream. 
With your sputtering candle-beam 
He built him a shining dome 
To shelter his house from the thunder-stroke, 
And the world — his golden park! 
But I — I burst the dome, and he woke — 
Blinded and mad — in the dark. 

II 



THE ROLL CALL 



THE MOTHER 
(With strange quiet) 

And he is gone from us. Far 

From home and the warm heart-beat 

Of women, under some unknown star 

He stays his bleeding feet, 

And gropes for a vanished grace, 

And stares on the dead face 

Of God. 

THE DESPOILER 

Aye, he is gone — 
With all he dreamed upon ! 
And his daughters do my best. 
And his sons perform my quest, 
And you — a slave at my door — 
Shall wait, but see his sign in the dawn 
No more. 

(Turning scornfully, he goes to the Great Doors. 

As he does so — circling upward once more — the 
low, rhythmic Thunder rolls and rises and wanes to 
stillness.) 

THE MOTHER 

(Listening) 

It comes ! Still — still it comes : 
The dream-beat of the drums ! 



(The Despoiler goes within. 
The Doors are closed.) 



12 



FOURTH ACTION 
("Lonely and Starless") 

LEFT alone now — to low strains of 
music* — with face upraised, the Mother 
speaks. 

THE MOTHER 

O hearts of our earth's sorrow, 

Hearts of her singing! 

Hearts of the dumb breasts of broken peoples! 

Hearts of the live upspringing 

Children, which are the chimes of their ruined 
steeples ! 

Hearts of a strange Tomorrow 

Struggling for birth in the labor of old bowed 
women. 

Begotten of strong men's pain mid the fiery sling- 
ing 

Of bombs ! Hearts — hearts of rebellion, born 

Of weakness and bondage and scorn! 

O hearts of the swimming 

Athletes of surging air — 

Hearts of dreamer and toiler, 

Of joy — of despair ! 

Hear me, all hearts! and with mine, 

The heart of a mother — conspire! 

Come, with a hallowed sign. 

Come, with a sign of fire. 

And purge this house of our dreams from him — 
from him, the Despoiler ! 

O hearts, I bow; I wait; I wait for your fiery sign. 

♦Music of organ or violin, playing faintly Chopin's Nocturne, 
Opus 37, Number 1, Second Part, rdigiosamente. 

13 



THE ROLL CALL 



(Dully the brazen gong reverberates again, and the Voice 
OF THE Despoiler crics from within.) 

THE VOICE OF THE DESPOILER 
Again 

Now let my rituals commence: 
Ho, Pestilence! 
Ho, Poverty — and Pain ! 

(Now, rising from the place of the Chorus, three Female 
Forms begin slowly to move toward the steps; at the 
centre, PESTILENCE — vivid in scarlet robe and veil 
of splotched piedness — carries a lurid taper, which 
throws its flickering gleam on the other two; on the 
right, PAIN, in dim purple, with head bent backward 
in one bended arm; on the left, POVERTY, half nude 
in drab, with face bowed and gray-black hair unbound. 
Following these from behind, a Fourth Figure — 
shrouded wholly in gray — lingers apart and — later — 
mounts the stairway alone. 

As the Three Figures move forward, the Chorus 
begins to sing. As they reach the broad steps and 
mount them toward the black Form of the Mother, 
bowed on her seat at the centre, simultaneously the 
Great Doors in the background swing open, revealing 
behind, in feverish lights, a dumb TABLEAU OF 
THE DESPOILER, dominant among the grouped 
forms of the Daughters and Children, in the thrall 
of Terror and Rapine, Hunger and Hate, surrounded 
by other Shadowy Forms in bondage. 

Very faintly at first, but swelling slowly more loud, 
the Chorus sings to the throbbing melody of Chopin's 
Marc he Funebre.*) 



* The Chorus is sung to the first fourteen bars only ; sixteen bars 
are then skipped, and the next eight bars constitute the accompani- 
ment to the soprano solo. The eighth line of the Chorus words may 
be omitted in singing, or be sung to the music of the seventh line, 
repeated. 



THE ROLL CALL 



THE CHORUS 

Lonely and starless, 

After the battle, — 

Moon dark, and sun dead — the moaning 

zvatchers lie. 
Blood-dim and blind, stare the lidless eyes of 

Pain. 

Starless and lonely. 

Stark in the wan night, 

Haunted with dreams, rise the homes of 

Poverty, — 
Pale, through the gloom, glide the ghosts of 

Pestilence. 

Lonely and starless — 

Lord of the outcast! — 

Where shall tlie all-forsaken hail Thy sign? 

(Now, as the Figures pause, and the Music changes to a 
strain celestial in its comforting (sung by a single 
Soprano Voice), darkness blots out the Tableau of 
THE Despoiler — darkucss through which a single 
beam of white light, falling at the centre, illumines the 
Mother, and beside her, the Figure Shrouded in 
Gray. 

There, dropping oE the shroud, the Figure emerges 
— a Form youthful and gracious, clad in clinging white. 
Glancing at the slowly lifted face of the Mother, she 
points upward where, above them, gleaming dream- 
like from the dark, the Sign of a Red Cross glows, 
softly luminous. At that moment, to the tender 
cadence of the Soprano Voice as it ceases, touched by 
the white beam, she reveals the sign to the Mother.) 

15 



THE ROLL CALL 



THE SOPRANO VOICE 
(Solo) 

Lo, glimmering upon Thy breast, 
Love — illumined with Thy hallow'd light — 
Love revealeth there Thy heart-red cross 
To heal the all-forsaken of their sorrow. 

(Reaching uplifted arms, the Mother rises in the light — 
her lips parted to cry out — when instantly in darkness 
the Cross and Figure disappear; and again the dim 
Forms of Pestilence, Poverty and Pain begin to 
move, passing off inward behind the closing Doors, 
while the Chorus deepens to the throbbing strains of 
their dumb march.) 

THE CHORUS 

, Lonely and starless, 
Lord of the outcast! — 
There shall the all-forsaken hail Thy sign! 



16 



FIFTH ACTION 
(All Hearts) 

NOW, as the Chorus ceases, a light as of dawn 
begins to fill the space before the Great 
Doors, where the Gray-Shrouded Figure 
is seen standing beside the Mother, who speaks 
aloud in wonder, while still the dark is thinning. 

THE MOTHER 

Where? — ^Where? — O healing Sign, that disappears 

Yet still abides in faith! 

Hath now no music throbbed within my ears, 

Nor moaning breath 

Of choirs ? Hath here no heart-red Cross — 

No star-bright Shape — burned through my dross 

Of shadow? Or hath a dream — 

A dream once more! — 

Made visitation at this door 

Of dreamers dead? 

(Seeing suddenly the Shrouded Figure before her) 
What are you? 

THE FIGURE 
You have said. 

(For an instant, as the Mother peers forward, the Figure 
parts her shroud, revealing on her breast a red cross, 
which hangs there like an amulet; then she wraps it 
close again.) 

THE MOTHER 

O dream ! — And was it you who came ? 

17 



THE ROLL CALL 



THE FIGURE 

I heard you call; 

Yet ere you spoke, as deep as spirit plumbs, 

I answered with my drums. 

THE MOTHER 

But I — I prayed to all 
Hearts of all peoples! 

THE FIGURE 

So you called my name, 
For / am All Hearts, and all peoples are mine ! 
I bring their life-blood in this hallow'd sign — 
The Red Cross, and within that fire — 
With you, with me — their wills conspire. 

THE MOTHER 
But this dim shroud ! — ^Why are you so concealed ? 

ALL HEARTS 

Within the house of death, life must be healed 

In hidden ways to meet the world again: 

And we, who match our wills with pain 

To outwit the great Despoiler, — we 

Must make our deep conspiracy 

Work from within, disguised in death's own garb, 

Till we shall turn his poisoned barb 

Against himself — and set our wounded free. 

THE MOTHER 
Ah, you will free them? — How? 

i8 



THE ROLL CALL 



ALL HEARTS 

By my earth-wide Alliance, sprung 

From many lands. Too long 

Love lived a hermit, and his labors, done 

Alone, were crushed: but now — 

All mercies now shall work as one ; 

For Pity Organized hath power more great 

Than all the Hosts of Hate. 

THE MOTHER 

And who are those, allied 
To free the world? 

ALL HEARTS 

You bore them from your side. 

THE MOTHER 

My children ! — But my babes and daughters lie 
In bondage yonder, and my strong sons die 
Fighting to serve him — the Despoiler! 

ALL HEARTS 

Nay, 
They faint no more — nor fight — to serve his will, 
But mine: our will, that shall waylay 
And trap him in his lair. 

THE MOTHER 
Yet how ? 

19 



THE ROLL CALL 



ALL HEARTS 
To snare 
The soul-snake and the cuttle- 
Man-beast, the brain of Mercy must be subtle 
Even as he, 

And foil the camouflage of Cruelty 
By craft of love more keen. — 
So / have been, 

For now behold — even at the tyrant's doors — 
These new conspirators! 

(Amid another murmur of Drums, in both of the Gates 
at once appear Four Tall Forms, also Shrouded in 
Gray. 

Coming forward, the Four join one another, and 
pause near the Mother.) 

THE MOTHER 
(In wonder) 
But who are these? 

ALL HEARTS 

Ah, they themselves shall tell ! 
For now I go 

To meet our common enemy, and dwell 
Here in his house, to work his overthrow. 

(She moves to go. 
The Mother starts to prevent her.) 

THE MOTHER 
No! There is ruin! 

20 



THE ROLL CALL 



ALL HEARTS 

Have no fear : 
(Showing again her small red cross) 
This cross shall be my talisman 
Against all harm. 

(See moves on, close to the Great Doors) 

THE MOTHER 
He will revere 
No sign or sacred charm. 

ALL-HEARTS 

Yet he will fear the power, which soon shall ban 
His empire from the earth: the secret power 
Of All Hearts — mine. 
Assembled from all peoples, in this sign. 

(With a gesture to the Four Shrouded Forms) 
For you, dear fellow workers, you know best 
The magic of its might. The longed-for hour 
Is almost struck. Remember, then the test : — 
When, from within this house of plague, you see 
My heart-red Sign burn forth, then set unfurled 
The banners of our purpose, let the air 
With all our bugles blare, 
And rouse with drums of our conspiracy 
To our Red Cross — the roll call of the world! 

(The Four Shrouded Figures raise their right arms as in 
oath. 

Turning to the Great Doors, ALL HEARTS pauses 
in a moment of silence, and then — knocks. 

From within, the brazen clang answers, and the 
doors partly open, half revealing the Despoiler behind.) 

21 



THE ROLL CALL 



THE DESPOILER 
Who knocks there? 

ALL HEARTS 
(In low voice) 

One who wearieth 
To wear a shroud. 



THE DESPOILER «^A 

Ah! — ^Welcome, Death! 

(All Hearts passes within. 
The Great Doors close.) 



22 



s 



SIXTH ACTION 
(The Sons) 

TANDING by her seat, the Mother speaks 
wistfully to the Shrouded Figures, who 
draw near and crouch down before her. 



THE MOTHER 

Shapes of my clouded mind! 
Smouldering dreams, that the blind 
Dumbness of woe cannot smother 
With ashes ! Oh, my breast 
Pains with a hope supprest. — 
What are you, shrouded ones, 
So mute before me? 

THE NEAREST ONE 

(Springing up in light from his fallen shroud— a Young 
SOLDIER— cries to her) 

Mother ! 



THE THREE OTHERS 

(Starting up likewise, in a flame-like glow — Young 
Athlete Forms, SAILOR, LABORER and 
AVIATOR— cry aloud) 

Mother ! 

23 



THE ROLL CALL 



THE MOTHER 
(Reaching to their outreaehed arms) 
Sons ! O my sons ! 

(They kneel close about her. 

She gazes ardently from one to the other, caressing 
their hands.) 
You — my own ones, returned 
Out of the deeps! — Is it true? 

THE SAILOR 
We — and you, Mother, you — 
Together ! 

THE SOLDIER 

How we have yearned 
Homeward — homeward for this! 

THE AVIATOR 
Out of the whirlwind! 

THE LABORER 

Up from the abyss ! 

THE MOTHER 
(Lifts her face) 
Waters of life, and shores 
Of death ! O, deep of the skies, 
Dark — dark of the earth ! 
Tzuice you have given them birth : 
Once from my agonies, 
And now from my joy, that restores 
Light of them back to my eyes ! 
(Sitting, she turns more close to them. 

Suddenly, to the Aviator, she makes a low cry.) 
Ha ! Your brow — that red ! 

24 



THE ROLL CALL 



THE AVIATOR 

(Smiles, adjusting a blood-red bandage and points upward) 
A scratch in the sunrise — yonder! 

(Looking swiftly at the Others, she sees the splices on the 
Soldier's arm, the swathings on the Sailor's breast, 
and the scarred face of the Laborer.) 

THE MOTHER 
You — both ! — And you ? 







THE 


LABORER 






(Quietly) 








Some bread 


Comes 


charred 


from 


the oven. 






THE 


SOLDIER 

Guns 


Leave 


shells. 










THE 


: SAILOR 



When ships go under, 
Strange sharks lay by. 

THE MOTHER 

O my wounded ones 
And I, who should have nurst 
And healed and comforted, 
I have only these empty arms 
To welcome you — homeless — instead! 

25 



THE ROLL CALL 



THE SOLDIER 

Nay, Mother, home — home is thirst 
Made cool, and loud alarms 
Made quiet, and festering wrong 
Lanced, and faint will made strong 
By faith revived. So, Mother, 
Here — here is home, 
With you and All Hearts. Come ! 
Let us go in. 

(He starts to lead her toward the Doors.) 

THE MOTHER 
(Sadly — staying his gesture) 
Another 
Dwells in your father's place. 

THE LABORER 
(With strong quiet) 
Whom we have come to efface. 

THE MOTHER 

But you labor and fight for him — 
His bondmen! 



26 



THE ROLL CALL 



THE AVIATOR 

His no more! 
He willed a thing called War. 
He planned to make it — iron beam 
And arch — his own, and us to contrive 
And toil — slave bees, with blood for honey, 
And mud for wax, and golden money 
For mortar — to build its roaring hive 
— His temple! Ha! but he shall not win: 
For we, his bees, have hidden, within, 
A Queen of our own, and her secret leaven 
Works to weld us, mind and spirit. 
One soul — the army of All Hearts ! Now, 
Now our wills combine : 
Here we await her sign — 
Her call to swarm to a new-world bough, 
And leave his war-hive empty and riven, — 
And none again to rear it ! 

(After a momentary pause, the Other Sons speak with a 
strange dreaminess.) 

THE SAILOR 
(Slowly) 

I saw in crimson waters 

The last of his monsters gasp and gape. 

THE SOLDIER 



I saw a heart-red shape 

27 



Shine in the sundown of slaughters. 



THE ROLL CALL 



THE LABORER 

I saw a red-and-white bird escape 
From the crush of his purple mortars. 

THE AVIATOR 

I saw the red cross on its white wing: 
High over the storms — I heard it sing! 

THE SOLDIER 
(Turning, with decision) 
So, Mother, we will go in 
There, where our sisters lie; 
For the sign we all have seen 
Quickens our blood to vie 
With him, who lords it obscene 
In our father's house. 

THE MOTHER 

Where you, 
My sons, go — I will go, too. 

(She moves from her seat toward them. 
Together, they join and greet her.) 

THE SAILOR 
Ha, Mother, our arms about you! 

THE AVIATOR 
What were your sons without you ! 

THE LABORER 

You of your courage who bore us, 
Brave for our need — 
You, Mother, walk now before us, 
Brave for our counsel, and lead! 

28 



THE ROLL CALL 



THE MOTHER 
(Smiling on them) 
We will go — together. 

(As they start toward the Great Doors, from within the 
Voice of the Despoiler is heard crying aloud.) 

THE VOICE OF THE DESPOILER 
Guile ! 
Guile and snare! 

THE MOTHER 

(As the Sons start forward, makes them a gesture of 
quiet.) 

Stand by. 

THE VOICE OF THE DESPOILER 

Spies! Ho, Treachery! 
I — to be gulled ! 

THE MOTFIER 
(To her Sons) 
Awhile 
Wait in the shadow there. 

THE SOLDIER 
(Tensely, as the Four move aside in shadow) 
Our swords are waiting. 



29 



T 



SEVENTH ACTION 

(" Magic of Mercy ") 

HE Great Doors open suddenly, and the De- 
spoiler comes out in ang:ered amazement. 
They close behind him. 



'fc)' 



THE DESPOILER 
(Muttering aloud) 

A snare! 
Duping of spies ! Still — still — 
None entered over this sill 
But Death in his shroud, and I scanned 
Well, where he bowed beside 
The bed of Pain, and I half descried 
The blood-red cross in his hand. — 
Only Death, and a cross 
Blood-hued : nothing human 
Else has entered. 

(Seeing the Mother) 

Ha, — Woman ! 

Only the woman's heart 

Can have conceived this. — You! 

Where have you waited? 

30 



THE ROLL CALL 



I have waited. 



I have prayed. 



THE MOTHER 
Here — apart — 

THE DESPOILER 
What did you do? 

THE MOTHER 

THE DESPOILER 
You prayed — whom to? 

THE MOTHER 

THE DESPOILER 
What was your prayer? 



THE MOTHER 

I prayed that one might enter there 
With magic of mercy. 

THE DESPOILER 
You! 
You, then, it was. And are you ware 
How your magic is speeding? 



To all hearts. 



THE MOTHER 

Well? 

31 



Hath it sped 



THE ROLL CALL 



THE DESPOILER 
(Half to himself) 

Pain, my bondslave, lay on her bed. 
One sat close by in a shroud. — The pulse 
Of Pain throbs ever in fire; her head 
Cranes, and her cramping limbs convulse 
In vices of ague: So 
I have watched her, since long ago 
I thralled her. But now 
When I looked, instead — 
Now on her pillow she lies 
With a smile half dream, and brow 
Blanch'd in sleep, and breasts that rise 
And fall, as hght as a June breeze passes. 
And limbs, like morning flowers laid 
Cool in meadow grasses. 

THE MOTHER 
Ah, not all in vain I prayed ! 

THE DESPOILER 
But not only 

Pain hath your witchery 
Warped to you: Poverty — 
Aye, she who, trembling and lonely. 
Ever hath shrunk her eyes from mine 
Deep in her raggled locks, — 
Now, on bold, buxom knee, 
Mincing her gesture, neat and fine, 
Now in golden laughter she mocks — 
She mocks — at — me ! 

32 



THE ROLL CALL 



THE MOTHER 

(Exulting, low) 
O golden effluence 
Of All Hearts! 

THE DESPOILER 

How ! Beware 
What you hide in your murmurs there! — 
Where is she — Pestilence? 
None within could hatch her loss, 
And none but Death, with his dangling cross, 
Hath entered from without. 
Yet now, when my yearning 
Eyes were about 

To draw to my lips her scarlet kiss — 
She was vanished; and only her blood-dim veil 
Distilled like cloud through a dark abyss — 
All white and lily-pale! 

THE MOTHER 

Vanished! Transformed — all three! 
Ah, she ! — it was she ! 

THE DESPOILER 

So — an accomplice! You shall name 
Her name. 

THE MOTHER 

I have told. 

THE DESPOILER 
The same 

You shall make bold 
Once more. 

33 



THE ROLL CALL 



THE MOTHER 
'Tis All Hearts. 

THE DESPOILER 

Weak ! Too weak — 
The will of all human hearts, to undo 
My will! 

(With threatening gesture, he reaches toward her) 
So Speak, 
Mother of weaklings! Tell me who 
Hath wrought now this insolence. — 

(With a cry from their shadowy hiding, the Four Sons 
rush forward, with long swords drawn, encirchng the 
Mother, protectingly.) 

THE SOLDIER 
(Fiercely) 

THE LABORER 
Your insolence hath spoke in error. 

THE DESPOILER 
(Turning, at their cry) 
Conspirators ! 
Your sons! — rebels! 

(Calling aloud) 

Ho, Rapine, here ! Ho, Terror ! 
Hunger and Hate, here — ho! Defend my doors! 



You! 



34 



EIGHTH ACTION 
(" Light of New Worlds ") 

FROM within, the grim forms of his Four 
Bodyguards rush forth to the Despoiler's 
call, and confront the Four Sons. 

These, reversing their swords, hold upward the 
red crosses of the handles, which blaze upon their 
opponents in crimson light, appalling them. 

Dividing in double groups, and backing fearfully 
before the on-moving crosses to the gates, they turn 
there and flee out — Terror and Rapine fleeing 
from the Soldier and Aviator, FIunger and Hate 
from the Sailor and Laborer. 

At the gates the Four Sons pause, and turn back 
toward the Mother awaiting them at the centre, 
where they reach aloft their burning crosses to- 
ward the amazed Despoiler. 

He, recoiling, makes a gesture of rage toward 
them and the Mother, crying terribly aloud: 

THE DESPOILER 

Blazing of Woman's heart ! Ha, scorches 
Of rebel lightning! Put out — put them out, your 
torches ! 

(Turning, he starts toward the Great Doors, when suddenly 
these swing open, revealing within a glowing 
TABLEAU OF ALL HEARTS, rising in beauty from 
her sloughed-off shroud, and bending in tender minis- 
tration above the Daughers and Children. About 
them, in visionary light, are grouped the Child-like 
Forms of ministering Pities. 

35 



THE ROLL CALL 



(With the outswinging of the Doors, and the Vision, 
sounds a Muffled Pealing of Trumpets. 

Spellbound, the Despoiler stares, and speaks with 
hoarse murmur.) 

O light of new worlds! My roof falls, — yea, and 
my crumbling porches! 

(Falling prostrate, he lies prone, as the Chorus burst into 
singing, and the Vision brightens in splendor.) 

THE CHORUS* 

All hail the power of Gentleness 

Whose love all fear deties 
To purge the dark Despoiler's halls 

With joys of sacriUce! 

Where Hatred glowered and Hunger thralled 

And Terror dwelled with Pain, 
There Mercy brings her ministering dreams 

To drive them forth again. 

Now through the Tyrant's crumbling walls 

New worlds their hosts convoy 
To hail the power of Gentleness 

And crown that power with joy! 



* To the music by Oliver Holden for " Coronation." 

36 



NINTH ACTION 

(The Red Cross) 

DURING the final strains of the Chorus, the 
Despoiler rises. As the music ceases, he 
shakes his clenched hands above him, and 
calls in rage. 

THE DESPOILER 

All Hearts! — All Hearts! You, in your vision of 

Pities, 
Not you shall confound my dreams! The will of 

my dreaming 
Builds in eternal Hate — ^builds on your flame- 

charneled cities 
And the blood of their corpses, upsteaming ! 

(Starting forward again toward the centre of the Vision, 
abruptly he is confronted by Darkness, save that high 
above the Great Doors, in sudden splendor — enormous 
— a RED CROSS rises, burning. 

Reeling back, he strikes both hands over his eyes 
and bows over, with moaning scream. 

With the blazing cross of light a blaze of sound 
rises in loud Shrilling of Trumpets. 

Standing with their faces turned toward the four 
Aisles, the Four Sons lift their sword-hafts. 

At their signal, down the Aisles four athlete 
Runners rush toward them and, mounting the stair- 
way, reach the top as the Trumpets cease, and — 
appearing high in the background, standing as upon 
air — All Hearts calls with clear-ringing voice.) 

37 



THE ROLL CALL 



ALL HEARTS 

Ho, Heralds of my Red Cross ! Hail ye ! Hail, above 
His fall! Ho, Courage — Mercy — Reason — Love! 

(The Four Heralds — the sign of the Red Cross on their 
breasts, their several symbols streaming from their 
Standards — salute the Mother at the centre, then stand 
beside the Four Sons, as adjutants. 

Meantime, the Despoiler — half bowed, and grop- 
ing — strikes at his eyes, and groans loud with horrible 
gesture. 

So, while he speaks, silently, from the shadowed 
space around and beneath All Hearts, her Groups of 
Light reappear, about to emerge.) 

THE DESPOILER 

Light! Light of new worlds! Blinder of me, in 

my yearning 
Power ! O light of old dreams, awakened to watch 

now the spurning 
Of me — me, in my dawn of darkness ! Ha, duper 

and f oiler! 
Striker down of the strong in hate — despoiling the 

Despoiler ! 
Light of All Hearts ! Yea, stricken am I ; but not 

broken 
Yet. — I am ware; I am wise; I am zuill — the will 

which has lasted 
Ages outworn ; and I will that your women yet shall 

be yoken 
Under my lash; and your men made — ^blood, and 

your children — be blasted ! 

38 



THE ROLL CALL 



(Gropin^^ with outstretched arms, he strikes stumbline 
against the left Gate, and staggers out. 

As he does so, All Hearts— with her followin^^ 
Groups— comes forward, leading to the Mother the 
little Boy and Girl.*) 

ALL HEARTS 

Out of that blasphemy, these shall redeem our 
vow. 

(Showing the Mother to the two Children she speaks 
for them.) ^ 

Mother ! 

(The Children both rush forward. 

With a sharp cry of gladness, the Mother nestles 
them close.) 

THE MOTHER 

Children! My little ones! — Now 
The spring of God's waters 
Wells again back to us— up from the slough 
And ashes of Death. Babes— sons— ah, my 
daughters ! 

(Beside her, the two Daughters go to her eager caress) 



M.?V ?^tf' n °^ ^m' ^^^'^''? ^"^ *" *^° Daughters, the branding 
Mark of the Despoiler is no longer visible. 



39 



TENTH ACTION 

(The Drums) 

NOW, from the circumference of the audience, 
and circHng the place of action, low and 
muffled, the Murmurous Drumming be- 
gins again. 
Through it, All Hearts speaks to the Heralds. 

ALL HEARTS 

Runners of Joy — Runners of the Four Winds! — 

Hark! 
Do you not hear — do you not hear them — my 

drums ? 
Rolling, they call — rolling out of the dark, 
Throbbing the heart-beat of life, as the daybreak 

comes 
Throbbing heart-red with the young Tomorrow — 

the dawn 
That wakens all sleepers, all toilers, all peoples as 

one. 
Hark! Harken! They wake them — ^my peoples. 

O Runners, begone, 
And bring them — my workers — before us, 
Their groups and their leaders: bring them, with 

chorus 

And banners and bugles and roll-beat — my heart- 
beat — of drums ! 

40 



THE ROLL CALL 



(As she ceases, the rumbling Drum-Call rolls louder and 
louder, rising to a rhythmic din of encircling thunder 
from vyhich the Chorus breaks suddenly into song ' 
During this with glad salutes, the Runners have 
dashed down the steps and up the four Aisles, meeting 
the Banner Leaders of the Red Cross Workers and 
Participants now visible, as they enter in Color and 
Pageantry and are led by the returning Heralds to 
their places of grouping, amid the Marching Song of 
THE Chorus.) 

THE CHORUS^ 

Hail, q Light of All Hearts 

Shining as one soul. 
Through the storm of battle 

Guiding to our goal! 
Cloud of Wrong surrounds us. 

Dark of Hate and Ire: 
Forward guide us! 
Forward guide us 

With your hallow' d tire! 

Sing, O Voice of All Hearts 

Choral in one cry! 
Sing above the battle 

Where your peoples lie! 
In that mighty paean 

Moan of pain shall cease: 
Onward call us! 
Onward call us 

To the world's release! 



H^L"' ^"''' ^^ ^'■*^"'" S""'^^" f°^ "Onward, Christian 

41 



Soldiers." 



EPILOGUE 
(The Roll Call) 

DURING this Chorus, Children-Heralds In 
pageant regalia have formed a cordon com- 
pletely surrounding the Audience, as with a 
red-and-white garland. 

And now, as the Chorus ceases, and the grouping 
spaces of the Pageants gleam in massed glory 
around her where she stands at the centre, All 
Hearts calls to the Audience and Participants. 

ALL HEARTS 

Pilgrims of the Red Cross! 
You, whom Courage and Love 
Mercy and Reason convoke here 
Now at my calling! 

Wakeners of a new world! 
Wakers — who yet can dream, 
And through the day still carry 
Visions of starlight. 

We — you and I, you and I — 
We ourselves, must still dream 
And organize this starry 
Masque of tomorrow. 

42 



THE ROLL CALL 



We are not near the end 
But the beginning: There — 
Out there — in his blinded rage, still 
Roams the Despoiler, 

Rankling with hate ; and out there — 
Under some unknown star — 
Brooding on ruined lands, Peace 
Yearns for his children. 

We, then — we — you and I — 
Each of us — one and all — 
None too poor or discouraged, 
Weak, or too weary — 

Old, disillusioned, — or young. 
Reckless of misery — none 
But each shall act his part, and 
Sharing with All Hearts — 

Join our conspiracy, still 
Back from the doors of Peace, 
Forth from the house of life, to 
Drive the Despoiler. 

Join, then, actors of truth ! 
Pledge me your names and your vows ! 
Join our Red Cross, to the kindling 
Drums of my roll call! 

(Now, to the roar of Drums, the Heralds make signal; 
the cordon of encircHng Children answer with a joy- 
ous shout of " All Hearts ! " and, raising their enroll- 
ment blanks, enroll the Audience and Participants, 
while the Singers renew their final Chorus.) 

43 



THE ROLL CALL 



THE CHORUS 

Hail, O Love of All Hearts 

Bound in one desire 
'Gainst the World Despoiler 

Henceforth to conspire! 
Lead us with your song-light 

Each to serve the zvhole: 
Godward lead us! 
Godward lead us, 

Godward — to our goal! 

FINIS 



44 



APPENDIX 



APPENDIX 

INSTRUCTIONS AND SUGGESTIONS 
By Percy MacKaye 

I. COMMUNITY SONG-OVERTURE 

For practical considerations of assembling the audience, 
as well as for enlarged opportunities for local community 
choruses, it is desirable that some appropriate Overture of 
Choral Song should precede the performance of the 
Masque. 

The selection of songs for such Overture may well be 
left to the discretion of local producers and organizers, 
with this suggested caution, that all selections used, though 
they should doubtless be popular and familiar, should pre- 
serve the essential spirit of the Red Cross, which is one 
of consecration to service; and their sequence should be 
so arranged as to lead the mood of the audience toward 
direct receptivity to the opening chorus of the Masque 
Prelude ("The Chorus of Womanhood"), which sets the 
key of the first Action. 

The time limit of the Overture, moreover, should be 
gauged to last as long as, but no longer than, the time 
practical for thoroughly assembling and seating the aud- 
ience, for no interruptions of the action, due to seating 
arrangements, should be allowed after the Masque has 
begun. The Overture would thus normally last not more 
than fifteen or twenty minutes. 

Under no consideration should any other form of pro- 
gram, or " entertainment," be substituted for community 
singing as Overture. 

II. COMMUNITY SONG-FINALE 

The Chorus of the Masque Epilogue (" The Chorus of 
All Hearts"), to the stirring tune of Onward Christian 

45 



INTERPRETATION OF THE MASQUE 

Soldiers, Is designed to stimulate all those assembled to 
the direct purpose and practical consummation of the 
Masque — the enrolling of new members under the Red 
Cross. 

With this purpose in view, whatever song-selections may- 
be made, by local producers, for enlarging this Epilogue 
into a finale of community singing, should not only pre- 
serve but enhance the mood of exalted enthusiasm stirred 
by the music of Onward Christian Soldiers. The time- 
limit will, of course, be gauged by the numbers assembled, 
and by the time needed for the delegated Children Heralds 
of the Junior Workers, and others, to record the pledges 
or enrollments of the maximum number of the audience. 

III. INTERPRETATION OF THE MASQUE 

The object of this Appendix (which is prepared at the 
request of the Red Cross authorities in Washington) is 
to provide local producers with such brief essential sugges- 
tions and instructions as a personal conference with the 
author and scenic designer might lead to. Printed state- 
ments are never adequate substitutes for spoken questions 
and answers, but since in this case there is no better alter- 
native, the printed suggestions here given are submitted 
with the hope that they may be to some degree helpful. 

This Masque is not a play for Naturalism to interpret 
in realistic ways, nor a pageant for Allegory to clothe in 
merely decorative forms. It is a symbolic drama for Imag- 
ination to interpret, through insight into elemental human 
passions, by appropriate expression of these in sensuous 
images and rhythmic cadences to the eye and ear. 

Very subordinately, Naturalism will be utilized by the 
discreet actor in rendering emotions with elemental sim- 
plicity. Less subordinately, Allegory will take on its ap- 
propriate emphasis at the hands of a producer with a 
sense of interpretive decoration, especially in relation to 
the only Figures of the Masque proper which are allegori- 
cal merely — the four Heralds of the Ninth and Tenth 
Actions. 

46 



PRODUCTION 



Throughout, in speech, movement, groupings, pauses, 
lightings, the aim of the interpretive director will be to 
produce a rhythmic harmony of sound, color and plastic 
visualizing, all breathing one consecrated mood — the mood 
of its theme. So he will interpret the Masque by means 
of the same impersonal spirit which gave it inception and 
form in the dramatist's mind. 

This spirit, impersonal though it be, is not therefore 
impassionate. On the contrary, it is emotion which seeks 
constant release in rhythmic expression. For this reason 
the Masque is of its nature in verse — verse, the cadences 
of which are part and portion of the thought and emotion 
to be expressed. 

The verse, then, is not accidental. It is, of course, not 
blank verse. Even if it were unrhymed, it would not be. 
It must not, therefore, be scanned or spoken as blank verse. 
If that is done, the effect will be very damaging to the 
whole production. It will. I think, easily and naturally 
speak itself, if the actor will not take pains to construe it 
other than it is. 

With these general considerations suggested, let us take 
up the sequence of the Masque, and touch informally upon 
such details of its production as may seem pertinent from 
the dramatist-producer's standpoint. 

IV. PRODUCTION 

Prelude: Here the mood of the lighting and of the 
music is, of course, one and the same — a pensive, ominous 
foreshadpwing of tlie Action to follow. 

First Action: At the option and experiment of the pro- 
ducer, the Mother may already have entered to the soft, 
foot- fall cadence of the Prelude Music (in the slit of dim 
light through the doors ajar), taking her position by the 
central seat; and now — to the drums' first murmur — the 
Daughters enter, approach on either side, and speak through 
the lessening murmur, which ceases entirely at the words 
of the Mother : " We hear it die where our hope de- 
parts." 

47 



PRODUCTION 



Utter simplicity and lack of self-consciousness cannot 
be too much emphasized in the acting of every character 
in the Masque — in the Mother, above all. 

In her, the austerity of sorrow, though passionate, is 
usually suppressed, except in her outburst of appeal to 
the Despoiler in Action III, and the last part of her first 
speech in Action IV. After her meeting with the Sons in 
Action VI, her repression changes to a growing release of 
expression. 

In this First Action, the Young Woman is also austere 
and repressed, but the Young Girl expresses still a buoy- 
ancy and hope, only partly seared by the branding mark of 
the Despoiler. 

The drums will require careful rehearsal and expert 
drummers. Their cue for commencing must be exact, the 
response simultaneous, and the rolling continuous in its 
ensemble rise and fall, with no sense of individual drum- 
beats. The drummers are concealed, not only behind the 
scenes, but at well-spaced intervals (curtained off, or in 
outer galleries, if available), surrounding the entire aud- 
ience. 

Second Action: Nowhere in the Masque should dra- 
matic action be physically strenuous. In this scene, let 
Terror and Rapine exhibit no heroics of villainy. Terror 
glides; his glance and the touch of his hand are sufficient 
for the flight of the Young Woman. Rapine has much 
more physical force of gesture, but no occasion to use it 
in struggle, for the Young Girl has swooned just before 
he seizes her. He carries her off bodily, but with only a 
terrible instant of the suggestion of physical force. 

Hunger and Hate move with a silent inevitability — 
timed with equality of movement to reach the Mother at 
the centre. 

The scene is one of spell-bound action. The Children 
do not scream; a low sobbing in-take of breath, almost 
immediately stifled by Hate and Hunger, who draw them 
away, almost unresisting : that is all. 

The definite stage-effect of the Black Shadow of the 

48 



PRODUCTION 



Despoiler, before his appearance, is important and shouLl 
not be omitted. 

Third Action: In the interpretation of the Despoiler 
the actor is referred to the prehminary general suggestions. 
A too obvious, and wrong, way to act the part would be 
to invest it with a roaring realism. A mistaken antidote 
to that would be to act it with a repressed naturalism. For 
the part is one neither to be ranted nor suppressed. 

The Despoiler is a part at once passionate and symbolical. 
In his bodyguards, Terror, Rapine, Hate and Hunger, are 
projected single intense elements of him; but he himself 
comprises and fuses these and more — attributes of intellect 
as well as of passion — into a kind of monstrous humanity, 
warped in vision but large and imaginative in faculties 
grown horribly awry. 

At times, therefore, he expresses himself with a kind of 
imagery and feeling which would be quite unnatural to 
an " out-Heroding " interpretation of the part, but which 
are wholly in keeping with the imaginative monster he is 
by nature. This is especially to be noted in his dialogue 
with the Mother in Action VH, in which the subconscious 
influence of All Hearts — after she has entered into his 
dwelling — makes its momentary impress upon a nature 
plastic to poetry even in its cruelty, and affects both his 
speech and action in that scene. 

Fourth Action: The forms of Pestilence, Pain and Pov- 
erty have been seated till now in the front row of the 
Chorus, concealed by wearing the Chorus over-garment, 
which they drop of! when the music commences. All 
Hearts, who has been seated with them, also drops off 
her Chorus over-garment, but retains still her gray shroud. 

Details of the Tableau of the Despoiler are indicated by 
Mr. Jones' illustration. 

The Red Cross appearance in this action is not the same 
as Action IX. In this action the appearance is of a smaller 
cross, mysterious in lighting, emerging as from the air, 
at right, three-quarters down stage, and about fifteen feet 
above it. There it grows in brightness with the music. 

49 



PRODUCTION 



In Action IX the appearance is sudden, great in scale, 
from above the Doorway. 

As this is probably tlie first time that sung words have 
been provided for the Twentieth Prelude and Marche 
Funebre of Chopin, local chorus leaders (for purposes of 
the Masque in the immediate future) will themselves ar- 
range the part-singing for the Marche Fimchre, which is 
for mixed voices — from which the soprano solo emerges 
without interruption in the flow of the music. 

The music, together with the chorus words, will however 
shortly be published. Information concerning it may be 
obtained from the National Headquarters of the American 
Red Cross, as stated in the Announcements at the end of 
this volume. 

Fifth Action: All Hearts, after having put oflf her 
shroud at the moment of revealing the Red Cross, resumes 
it again in the darkness. , 

The rendering of the part of All Hearts is, of course, 
vitally important to the projection of the whole Masque 
in the spirit befitting the Red Cross. 

In that spirit, which is hers, " all mercies work as one." 
In her, those more buoyant and tender qualities of the 
Mother-Love, which are partly repressed in the tragic role 
of the Mother, should have full scope. Much care should 
therefore be taken in choosing for the part a woman prefer- 
ably not too young, yet imbued with a radiant and youthful 
charm of loving-kindness, which shall project its influence 
through the Masque to the entire assembly. 

Sixth Action: To suggest the universality of the 
Mother, it will be appropriate and advisable to costum^e 
the Sons in uniforms of some of the Allied nations, as 
for instance : The Soldier — French, in light blue ; the 
Sailor — Italian or English; the Aviator — American. The 
costume of the Laborer should suggest a universal symbol 
of Labor. The actors of these four roles should be cau- 
tioned against any overplaying of their parts in excessive 
physical action. 

SO 



PRODUCTION 



Seventh Action: The amazement of the Despoiler in 
this scene is touched with a sense of the supernatural — 
almost dreamy in its imaginative gropings for the cause of 
the transformations he has witnessed. 

The long swords of the Sons are brought by them from 
their shadowed place of hiding now for the first time. 
They have not carried swords until now. 

Eighth Action: The groups of the Pities in the Tableau 
of All Hearts may well be acted by children of the Junior 
Red Cross Workers, as also the Children Heralds in the 
Epilogue. 

Ninth Action: When the Despoiler starts toward the 
centre of the Vision, in local productions where instan- 
taneous darkness may be difificult to achieve, the Tableau 
may be shut ofif by the closing of the doors instead. 

Not until her cry of " Ah, my Daughters !" does the 
Mother see the Girl and Young Woman, who have fol- 
lowed All Hearts. They, when they go to her caress, 
remain grouped with the Mother and the two Children by 
the central seat, during the Epilogue. 

Tenth Action: At the climax of their roll call, the 
Drummers (as well as the Trumpeters of Action VHI) 
may appear in costume, with other Participants — the sides 
of their drums being covered with cloth of red. 

The organizing and marshalling of the pageant-groups 
of Red Cross Workers comprise processional movements 
and decorative massings. For these, all four aisles, the 
ground-space, the steps and the stage itself may be util- 
ized according to the numbers participating. 

The order and sequence of the groups are suggested (in 
the list of Persons and Groups and the Insignia Designs) 
under the four Herald Leaders, Courage {Overseas Divi- 
sion and Sub-Groups), Mercy (Nurses and Sub-Groups ), 
Reason (Active Service and Sub-Groups), Love (Produc- 
tion and Sub-Groups). 

Epilogue: The Children-Heralds will here perform a 
very important, practical function, not only by forming 



SI 



PRODUCTION 



their cordon which holds the audience till their names and 
memberships are pledged, but also by delegating from their 
body those who will go among the audience to obtain the 
signatures to enrollment blanks. 

This function should be thoroughly organized and re- 
hearsed beforehand by local directors. 

All Hearts, in her appeal, will stand at a central position 
at the top of the steps. 

As stated in the suggestions regarding a community 
Song-Finale, the ceremony of enrolment will doubtless con- 
tinue for a considerable time after the close of the Masque 
proper, during the singing of further song-selections by 
the Chorus. 

At the end of the Song-Finale, under no consideration 
should the persons in the Masque or the Participating 
Groups be left to break up in chaotic confusion for their 
departure. All those in costume (except those engaged in 
the function of enrolment) should withdraw in well-ordered 
Recessional, to the singing of the Chorus (in which they 
themselves may join), and not disband until after they 
have withdrawn entirely from the place of assembly. 

This should be carefully kept in mind from the begin- 
ning, and provided for by adequate rehearsals of the Ban- 
ner Bearers, in conjunction with the chief Persons in the 
Masque proper. 

Mr. Robert Edmond Jones, with whom I have already 
been happily associated in the production and book-making 
of two of my Masques (" Caliban " and " The Evergreen 
Tree ") and a new play (" Washington ") has prepared 
the designs for settings and costumes of this Masque. 

His Notes upon them follow in this Appendix. 

After conference with me regarding the first pro- 
duction of the Masque in Washington the director 
of that production, Mr. Irving Pichel (who was As- 
sistant Director of the productions of " Caliban " at the 
City College Stadium, New York, and at the Harvard 
Stadium, Cambridge) has prepared further notes on pr^c- 



52 



PRODUCTION 



tical details of the Masque's production, which also are 
contained in the following pages. 

For purposes of record in this field of community drama, 
it is requested that producers of this Masque will kindly 
forward copies of their programmes and press notices of 
their productions, in duplicate, one copy to the Red Cross 
Christmas Roll Call, Washington, D. C, and one copy to the 
author at the address below. 

Percy MacKaye. 

Harvard Club, New York; 
20th October, 19 18. 



53 



INSTRUCTIONS AND SUGGESTIONS. 

By Robert Edmond Jones. 

I. COSTUMES AND MASKS. 

Productions of " The Roll Call " in different parts of the 
country will vary enormously according to the varying phys- 
ical and imaginative resources of different communities. It 
seems to me that the more practical these printed suggestions 
can be, the better. Out of this raw material the local pro- 
ducer can create as he wishes. 

Roughly, the Masque is thought of as a scheme of four 
colors — red, white, grey and black. Keep clearly in mind 
the contrast between the rusty red of The Despoiler and 
the clear scarlet of the Red Cross. 

The Mother: flowing drapery of soft black; long veil of 
thin dark-grey, worn over a veil of pale grey. 

The Despoiler: a figure of copper and black; black short- 
sleeved shirt, trunks and hood ; breast-plate and many-spiked 
helmet of papier-mache painted to imitate copper; sandals 
and thongs of scarlet leather; thick heavy cloak of rust-red 
felt (or substitute) cut in the shape of a semi-circle. After 
his last appearance the helmet is cast asijde. 

Daughter. The design labelled Daughter represents The 
Girl: long flowing dress of soft grey with mark of the De- 
spoiler in rust-red. The Young Woman wears a grey band 
about her hair. In the Tableau of All Hearts and after, 
band and handmark are removed. 

The Sons. No drawing of these is given because Sailor, 
Soldier and Aviator will wear some form of the uniform 
of the Allies. These uniforms, however, should be sim- 
plified to the greatest degree possible by eliminating all de- 
tails of trappings, giving chief emphasis to color. The 
laborer would best wear a kind of Russian smock — suggest- 
ing a Laborer of the world instead of any particular country. 

All Hearts: a Giottoesque figure, naive and slight and sim- 
ple; a wreath of rosebuds in her fair hair; long dress of 

54 



COSTUMES AND MASKS 



clinging white, long sleeves, high waist, round neck ; a cross 
of red enamel is worn as a locket. 

Child (Boy and Girl) : bare arms and legs: minimum of 
underclothing; in First Action, soiled white rags bearing 
mark of Despoiler; in Ninth Action, smocks of the same 
clinging stuff, but clean and white. 

Terror: something gray, tightly bound, wraith-like; one 
fleshless hand stifles a scream. More than any other panto- 
mimic character, the effect of Terror's pantomime will de- 
pend on choosing an actor of imagination. 

Rapine: half bull, half alligator; scales of rust-red cloth 
sewed on a rust-red union-suit ; heavy clanging hoofs of 
brass ; a buU's-hide tied about the neck. 

Hunger: a blindfolded, groping thing nearly naked, with 
flesh stained gray like the gray rags it wears. The hands 
and arms are tightly bandaged with white gauze. The im- 
personator should be thin, almost emaciated. 

Hate: a dwarf, part condor, part rat; a gray union-suit 
dyed rust-red on arms and legs ; long rust-red pointed shoes ; 
spurs and Chinese nail-guards of white; a great pointed 
hump. 

Pestilence: underdress of dull red; large veil of clotted 
gray and red over face ; no features. 

Pain: a thin tortured figure in dull purple with the scarlet 
of fresh blood. 

Poverty: silvery gray rags, gray flesh; long flowing wig 
of coarse gray-black horsehair. 

Heralds: ordinary running costume of white with the Red 
Cross on the breast; wreath of gold laurel; streamers of 
thin fluttering red and white hang from arms and shoulders. 
Choose splendid physiques. 

Child Spirit of Pity: a scarlet surplice ; bare arms and legs. 

Chorus: a red surplice with the Red Cross on a white 
ellipse, front and back ; a red clinging veil with white band. 

Make the Masks of papier-mache or buckram over wire 
frames. Model them sharply and clearly so that they will 



55 



SETTING AND LIGHTING 



take strong high Hghts and deep shadows. Keep them large 
and simple and serene. Let their wearers rehearse carefully 
and discover for themselves how the method of acting in 
masks differs from acting without masks in rendering its 
own essential effects. 

II. SETTING AND LIGHTING. 

Keep the setting large and simple, with an entire absence 
of detail. If need be, grey curtains may be substituted for 
the side walls. Make the center doorway massive, the doors 
thick and heavy in appearance. The doors must swing 
easily and noiselessly; their opening and closing will be 
contrived from behind the scenes, at cues. The first tableau 
is grouped in front of a black curtain; the second, in front 
of a white curtain. 

In lighting, think of the masque as a masque of moving 
sculpture wherein the human form is as important as the 
face. 

Focus light on the people ; do not focus it on the setting, 
which will always take on a charm of light and shadow 
through reflected light. 

New York, October 21, 1918. 



56 




I. (COURAGE) 

ACTIVE SERVICE 



IT. (MERCY) 

PRODUCTION 




(REASON) TV. (LOVE) 

PAGEANT INSIGNIA I 
MAIN DIVISIONS 



57 



Plate 14 




59 



PRODUCTION NOTES 

By Irving Pichel 

To produce " The Roll Call " effectively, it will be neces- 
sary to divide the responsibility for its preparation among 
a number of people. Each one of these will be in charge of 
a definite department of the preparatory work, free to ap- 
point or recruit such assistants as he may need. For chap- 
ters or groups inexperienced in the production of masques, 
the following suggestions for a form of organization may be 
found of value. 

As soon as it has been decided to present the masque, an 
officer of the chapter should be appointed as Managing 
Director. He is to be the responsible business head of the 
undertaking. He will authorize all expenditures, see that 
the publicity is taken care of, that the auditorium is secured, 
that programs and tickets are printed, — in short, attend to 
all matters not relating to the actual staging of the masque. 
He may, of course, appoint a^ssistants to take charge of 
various details, all of them directly responsible to him. 

In immediate and complete charge of the staging of the 
masque should be the Masque Director, a person, if possible, 
experienced in rehearsing plays. His aides may be as fol- 
lows : 

A Stage-Manager, whose duty it is to prompt at re- 
hearsals and performances, to see that the orders of the 
Director are being executed, and to assist the Director in 
all ways necessary. 

A Chorus Leader, to recruit, rehearse and conduct the 
community chorus, and to rehearse the orchestra, if one is 
used. 

An Assistant to recruit players for the principal parts and 
for the groups. The actual selection of the players, how- 
ever, should be left to the Director after they have been 
tried in the parts. 

A Wardrobe Mistress, responsible for the making of the 
costumes, and for their care during performances. 

A Chief Mechanic, who will attend to the construction 
of the stage and scenery. 

6i 



AUDITORIUM, STAGE AND PROPERTIES 

An Electrician, who, with his assistants, will install the 
proper lights and operate them during performances. 

A Property Master, who will procure, make, or have 
made, all needed properties, see that they are in the hands 
of the players at performances, and care for them. The 
property department also operates off-stage sounds and 
effects other than electrical. A list of properties for " The 
Roll Call " will be found below. 

As the effects, scenery and properties of " The Roll Call " 
are all quite simple, most of this work can be done by volun- 
teers. Wherever possible, somebody experienced in stage 
lighting should have charge of the lights, and the person in 
charge of the execution of the costumes should know some- 
thing of materials and of dyeing. But the making of them 
can be done by the workers of any Red Cross workroom. 

The Auditorium and Stage. 

It is not necessary that the masque be given in a theatre 
or in an auditorium with a stage. None of the usual stage 
machinery, drop curtains, footlights, border Hghts, etc., are 
required. The masque may be acted in any large room at 
one end of which a platform has been erected. With the 
exception of the great doors at the back and the smaller 
entrances at either side, none of the scenery requires the 
services of a professional carpenter. 

The stage, if it has to be built, should be at least two and 
a half feet higher than the floor of the hall, reached by five 
or six steps. 

Properties. 

The following properties are required : 
Dais. 
Seat. 

Lanterns above right and left gates. 
Standard for the Despoiler (see design). 
Standards for Courage, Reason, Mercy, and Love (See 

design). 
Swords for Soldier, Sailor, Aviator, and Laborer. 
Standards for pageant groups of Red Cross workers 
(See designs). 

62 



LIGHTING EQUIPMENT 



A gong. 
A taper. 
Drums. 
Trumpets. 

Behind the doors, two platforms, the same height, but 
one of them smaller than the other. The smaller is 
set upon the larger. 

The hilts of the four swords should be cross-shaped, and 
should be constructed especially. Have a tinsmith make 
them of galvanized iron, in the form of a cross-shaped box 
without a lid. The inside of the box should be silvered so 
that it becomes a reflector. The electrician should then 
mount in them a number of miniature electric light bulbs 
such as are used in pocket flash-lamps. The surface of the 
box is to be made of red glass. The lamps should be con- 
nected by wires with batteries carried on the persons of the 
four Sons. 

The gong which alw*ays accompanies the speeches of the 
Despoiler should be a Chinese gong or tam-tam, procurable 
at any store that deals in musical instruments. It should 
not be struck, but should be shaken or vibrated. If the 
masque is given in a church or auditorium where there is a 
pipe organ, this effect may be supplemented awesomely by 
opening the lowest pedal stop on the instrument. 

The drummers should, wherever possible, be stationed 
all around the auditorium out of sight of the audience. 
They should begin their rolling simultaneously, so it will 
be necessary to arrange for a signal to be given from the 
stage. This can be done simply by having a number of elec- 
tric lights strung to the places where the drummers are con- 
cealed. They should be wired in series and switched on 
and off from the stage. As a cue approaches, the stage- 
manager turns on the light as a warning. At the cue, the 
light is turned out. 
Lighting Equipment. 

It is most desirable that the switchboard be equipped with 
dimmers. If they should not be obtainable, the lights may 
be " blinded off," or gradually diminished in intensity by 

63 



LIGHTING EQUIPMENT 



slowly passing a piece of cardboard in front of them. Use 
nitrogen lamps of high wattage, not arc lights or " strip 
lights." If stage flood lamps and spot lamps are not avail- 
able, they can be improvised out of wooden boxes of proper 
size, lined with asbestos. A small wash basin at the back of 
the box can be made to serve as a makeshift reflector. But 
in almost any town, D'Oily holophane reflectors can be 
bought very inexpensively. With a little ingenuity, a frame 
can be fastened to the front of the reflector to hold the 
color screens. 

The best possible substitutes for spot lights and flood 
lights, however, are automobile headlights and windshield 
spots. Automobile lights cannot be burned on the ordinary 
electric circuit, and require either storage batteries or a 
transformer, A transformer large enough to carry six 
automobile spot lights can be purchased for about three 
dollars. 

It will be noted that the luminous cross appears twice. 
The first appearance should be dimmer and less sharp in 
outline than the second. The first appearance should also 
preferably be smaller and placed in front, above and to the 
stage right of the central seat, but this smaller sized cross 
is not absolutely essential, if local equipment is difficult. 

The cross should be a large box with a transparency 
front. Inside, brilliant lights. The box is suspended high 
up above the stage. In front of it, reaching down toward 
the center doors, a dark gauze may be hung, concealing the 
cross from the audience. At its first appearance, the lights 
may be brought up on the dimmer slowly until the cross 
shows dimly through the gauze. On the second appearance 
the lights are thrown on in full brilliance. If there is no 
dimmer available, the first appearance of the cross can be 
produced by projecting a cross on the gauze curtains by 
means of a stereopticon. If the lens is slightly out of focus 
the outlines of the cross will be blurred and the effect 
visionary. 



(Finis. ) 
64 



ANNOUNCEMENT 



All the materials needed for produc- 
ing this masque — except the scenic effects 
and the costumes (designs for which are 
included in this volume) — such as copies 
of the masque, the music, the masks to be 
worn by the pantomime characters, the 
advertising posters, the four-page general 
announcement of the masque, will be fur- 
nished by the National Headquarters of 
the American Red Cross at cost. 

For this material, address C. S. Clark, 
Executive Secretary, Red Cross Christmas 
Roll Call, Washington, D. C. 



65 



LIGHTING PLOT 






II. 





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"THE aOLL CALL" 
by Percy MacKaye 



LIGHTING PLOT 



II. 



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In the plot here following only the cues are indicated. Local stage 
n;anagers can designate for taemselves places in the script as ;^arning 
cues. This plot IS drawn up v.ith a full electrical equipment m mind. 
For productions ^r.here the equipment herein referred to cannot he obtain- 
ed, the stage ir^-nager may elia.inate as he sees fit, but should strive to 
retain all the light effects and changes indicated. 

If stage dingers are lacking, changes in intensity may be accomplished 
by "blinding" the lights, or passing a card before the soiirce of light. 
If the lights can be controlled fron. a central switchboard, however, fe'v- 
er men are needed to operate the lights and there is less danger of cues 
going wrong. 

The lighting units should consist, as far as possible, of spot lights, 
or lights that are focusable and can be directed as desired, rather than 
flood lights or lights of wide diffusion. If ordinary stage spot lights 
are not obtainable, General Electric Company Type L-1 lamps aake a sat- 
isfactory substitute. These lights are in general use for lighting out- 
door construction »;vork at night and for illuminating the outside of 
buildings, so that they are obtainable through General Electric Comp^any 
agencies in miost cities. The X-Ray Reflector Conpany also nakes a very 
satisfactory lamp of this type. Failing either of these, automobile 
nead lamps may te used. Eulbs of 110 volt capacity with small size 
bases to fit head light sockets may be obtained, so that the lamps may 
be used with the ordinary current. 

Disposition of lights on the stage. . As far as possible, the lights 
sliould come from above. It is best if the Masque is given in a theatre, 
not to use the footlights and borders. In the following cue sheet, 
eleven light stations are presupposed, indicated by letters of the alpna 
bet, as in the key below. 



(a) Overhead Bight 



(B) Overhead Left . 



(C) Rta pe Right 



(D) Sta pe Left . 



(E) T^ip-ht. T^ntrance. 



One or two spot lights commanding the whole stage 
in front of tne great doors. 

As on the opposite side of the stage. These two 
units Should be kept as far "down stage as 
possible . 

A sr^ot light, and possibly a flood light, well 
"down siSe-: TuesS .should be raised to a hexght ox 
6 or 9 feet, 

TlnZn» productions either A and B, or C and D 
rray be omitted. ) 

A flood lamp outside the gate "down stage." If 
Possible also a "baby" spot lamp to project aero.. 
?he stage to the entrance opposite. 






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(F) 

(G) 

(H) 
(I) 



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(K) 



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(F) L3ft Entrance . 

(G) Tableau Right , 

(H) Tableau Left. 



As above. 

A powerful flcodlaii.p back and to the right of the 
center gate. 

As above. 



(I^ Tableau Overhead. Above and in back of the great center doorvvay, 

concealed by the cap of the gateway. This should 
consist of three flood lamp units, directed down- 
ward. Three colors are used - red, green and 
blue. By the mixture of these colors in varying 
intensities, any color called for in the follow- 
ing plot iray be produced- If dimrrers are not 
available, these lights should be covered with 
blue, deep orange and li^ht amber colors. 



(J) Sirall Red Croi 



(K) Large Red Cross . 



Colors. 



Either this is produced by showing the large Red 
Cross less brilliantly illuiiiinated and partly 
irasked by a gauze, or is projected by means of a 
stersoptican f rou. the front of the auditorium on 
a gauze hung above the door and to the right of 
it, (See apj:endix of Book). 

(See book). On a stage, this may be lowerea from 

the "flies" in tne laoment of darkness before it 

is switched on. Otherwise, it should be above 

the gateway concealed by a gauze. 

Gelatine colors aiay be obtained from any theatre 
electrical supply house; rray sometiu.es be borrow- 
ed from a local theatre, or may be purchased from 
the New York Calcium Light Company, or fron, 
Klaigl Brothers, l^e-' York. In case they are not 
obtainable, color;a tissue paper, made raore- tran- 
slucent by' being ciied, can be used .vith fairly 
satisfactory results. 



1. Cue : 

2. Cue; (a) 



TTaHTTNG PLOT. 

After tne Prelude of corrmunity singing, the lan- 
. «>,o^P the right and left entrances should 

iTllilli: ?hese^ights Should be of a pale a... 
ter color and not too bright. 

ils chorus "Earth How Dreamily" begins, tegin 
slowly to lower auditorium lights. 

^ ^v,-r.ri 1 inp of third stanza of opening chorus 
At third ■^^^IJ^I ;^f^^ .^^ xast auditorium 
"Yearning Mother Love > .^^^: /^^.^^i^g the stage 
light should be extinguished l.-vin^ ^^^ 

for the moment in utter darkness, -.xc.p 
dim glow of the lanterns. 



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3646 



( b ) On san^ cue 

grey, behini doors!'''^ '''^^'^'' ^'^'''" ^^^ ^'^'^^ ^^^^ 



3, Cue 



As mother sits or h u 

orange (As near .' rT ' ^^^'^^^^^ ^^g^* lig^-^ on, dim 
^ coppery tone as possible). 

~'' l^inl f on!"^ ^^^P^iler, "More of my branding, .oroi" 

<^ on, red. 

"' ^'' Ti^Tt ■'^f" -" - E and F slo..ly dl,„,:ad out. 

-^ i-u aoout Jn.cif lorrrer mcensity. 



Cne 



"Motner v.ili find ycu soire younger, beautiful hoirie' 
■c- green, aiiL. 
F grey blue, dia. 



7. Cue: "iUh: C-od leaves us utterly."' 

E ana F diaj-i^ed out. 

8. Cue.: "rtoir.an, -;;,t is your will?" 

I. red- orange up on diiraiBrs. 

B. orange spot to door uay on De spoiler. 

9. Cue: The De spoiler exit. 

I. out 
B " 

D to mother, aniber. 

10. Cue : "Again now let urj rituals coi.inencG. " 

C to center near mother • s se^at - copper. 

B to right of doorway - nagenta 

A to left of doorway - deep blue 

G - red 

H - green 

I - orange and blue 

11. Cue.: (a) Cnorus sings: "Where s/.all the all for saken hail 

thy. sign." 

Black out all lights. 

(b) Solo voice begins: "Lo, gliumering upon thy breast. 
A - white spot to All Hearte> - center of stage. 
J - sn^ill croi 



-ss slowly on. (If stereoptican is used, 
ross slightly out. of focus to blur out- 



project c 
1 ine . ) 

12. Cue : Chorus sings "Lonely and Starless . 

A - out J 

J - out 1 

Restore lighting as of Cue 10. 

13. Cue.- End of chorus and closing of doors. 

C - changes to rose or light amber. 

D - slowly on light amljer. brighter, cut 

(N.B. - The lights now beconie warn^r -n 
not intense . ) 



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3646 



-4- 



14. Cue : "And foil fhr. 

more keen" '^'^'^'^^fl^'^ge of Cruelty by craft of lov, 

light amber, up slowly to half intensity. 

15. Cue : "The rnll r^- n 

T f.. ^^^ °^ ^^e wrld". 

-t - ciull copper. 

15. Cue.: The doors close - I out. 

17. Cug_: The soldier cries, "Mother .»" 

A - light amber on the soldier as he drops his 
shroud. 

18. Cue.: The other sons cry "Ivlother."' 

B - as A above . 

^^- 5lie: "Guile/ Guile and Snare?" 

I on, dull copper. 

General diiriivdng of all stage lights. 
A - dull ore^nge, to left of center for Despoilar's 
ent ranee . 

20. Cue : "Blading of Women's Hearts." 

G - H and I on full, v»/hite or lignt amber. 

21. Cue : "And the blood of their corpses upsteair.ing! " 

Black out all lights 
K on full. 

22. Cue : Trumpets sound. 

A and B to sons at front of stage. 
G - spot to All Hearts. 

23 Cue : "Ho - Courage, Mercy, Reason, Love."' 

G - H and I gradually up to fuU intensity. 

^4_ Q^^. "Out of that blasphezry, these shall r sdeem our vow." 

C and D on full. 

T.TaHTS STAMP Till' END 



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3658 

The Roll Call 
by 
Percy MacKaye.. 

SUGGESTIONS FOE PAGEANT FINAI^ OF RED CROSS WUKmS . 

1.. participants . The Pageant participants are divided arbitrarily into 
fovr gro^5>s v^*lich for the sake of convenience have been called The 
Overseas, Nurses, Active Service, and Production Divisions.. 
niese groups enter down the four aisles indicated on the ground plan.- 
The Overseas group comes down the aisle by which the Herald "Courage" 
has entered. The Nurses* Division follow "Mercy", the Active Service 
workers follow "Reason", and the Production workers follow "Love". 

In determining the number of workers to be used, the 
best guide will be fotmd in the number of rows of seats in the 
auditoriTOTi in which the masque is to be performed.. For it is to be the 
function of those Pageant participants to enroll the audience. There 
should therefore be a v^rorker for each row of seats on each aisle.. On 
the outer aisles, there will be one worker for each row, on the tv.-o 
inner aisles two workers for each row, one for the right hand and one 
for the left hand. 

11-. Entrance. First to enter should be the children of the Junior 

Workers., Let them sweep down one of the outer aisles, along the steps 
at the frontoQf the stage, and vp the other outside aisle, the leader 
of the long line joining the last child at the back of the auditorium, 
so that the audience is completely surrounded. The number of children 
required is to be determined, therefore by the circumferance of the nail. 
The Banner Bearer for the children should remain at the center of the 
steps leading to the stage. . , , ^ 

Then, marching do'-;n the four aisles, each grovp led oy 



its Banner Bearer, come the four Divisions.. The Banner Bearers, each 
attended by one worker of the particular groi^) should be massed on tne 
steps, forming a pyramidal picture with All Hearts as its apex, ihe 



remainder of the workers of each groxp remain in the aisles, as 
above, one for each row of seats. . .y^ 

111. Enrollment . At the Children's shout, "All Hearts", those at tne 

front of the hall, facing the audience, pass a proper number °i ^°^^ 
Call Enrollment Blanks to each line of vorkers. The ^^f^f^^^'^^llll't 
buted back along the line until each worker is supplied. . ^i^e s 
each worker is provided with pencils.) The blanks and Pencils are ^ 
passed along each row and the names of the audience secured, ^i . 

worker for each row, the '.vhole process should not take "^^=^?. °^^^ °" 
minute. This process coincides with the Epilude of ^^^^J^^^J^^^.-.^; and 
IV. Exeunt . During the above action. All Hearts and the tte^_^ 

Banner Beareis should move to the back of the stage forming ^^^ .^o^kers 
tableau in the great doorway at the center of the ^*^^® ' . ^^ ^^.^vn the 
get the blanks with signat\ares from the audience, they ^^^^^^.g, zet 
aisles and up on the stage, grouping about their -^""^f Cross Workers 
this grouping be effectively arranged. When all the e ^j-jorus. (Hold this 
are up omthe stage, sing the last stanza of the ^^"^^ ^^ ^^^ the audience 
last stanza until then. The Song Leader should ^*v®^^ ^j^^s song, the 
to join. The words may be printed in the program.^ ^ ^^^ center door- 

players and pageant participants make their exit t. r^^ ^^^^ ^^^ ^^^^ ^j. 
way and the side doors. Rehearse the exit ^arefi^liy ^^^ Mother and 

will be orderly. The Children go off last, accOBopanyi 'fe ^^ ^^^ ^^on^ 
Children and Daughters and Sons, uho maintain their e^^^^^ audience 
center of the stage till the very end.. The Childien 
s-urroimded until th f plav is finished. 









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It is 

semi-devotiona 

be patriotic a 
Local leaders 
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COMViUlUTY tOWG PRELUDE ANE EPILUDE. 

It is suggested that the selections u.sod for the song prelude oe of 
semi-devotional and sentiuental character, while those of the finale should 
De patriotic and Evartial in character. Tne followino' selections are advocated. 
Local leaders nay add or elindnate, as seems vkise, but should not introduce 
numbers that break the mood desired eitner at the opening or close. 

I - rRT^TU DS 

1 . AiXie r ica . 

2. Aiiierica the Beautiful. 

3. American Consecretion Hymn. -iVlac Millan. 

(Published by Carl Fischer, Boston.) 

4. Tenting on the Old Camp Ground. 

5. Old Folks at Home. 

6. Old Bxack Joe. 

7. Home Sweet home. 

8. My Old Kentv.cky Hone. 

II _ EPILllDF 

1. Battle Hymn of the Republic. 

2. When Jomny Comes Marching Hcne. 

3. Bersiglieri Hyain. 

Cc T^^et ^in-in^ stanzas, comnunity tne 

4. Marseillaise. (Soloist sin^i.^^ chonis. ) 

5. Dixie, 



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3935 
New Version of P^^ ^ 43 

°LTlffi_EpLL.CAJ4JvIasque 
by Percy MucKaye. 



We are not near the end 
But the begi.nning: Now - 
Now from the red pctns of ruin 
Peace comes returning 

Homeward through homeless tribes, 
Crying, "Destruction is done I 
•CrecxteX Create I my peoples 5. 
Build now together I" 

^«'e. then - we - you and I - 
Each nf us ~ one cind all - 
None too poor or discouraged, 
Vieak or too weary ~ 

■' Old, disiliusxcoed -- or young. 

Reckless of misery - none 
But each shall act his partj and 
Shcxring with A.ll Heci.rts - 

Join our vmited will, 
Now and henceforth, to build 
Out of old chaos - beau bye 
Freedom ctnd order. 

Join, then, actors of truth I 
Pledge me your names ana y^ur vows t 
Join our Red Cross p to the kindling 
Drums of my Roll Call - 

(Now to the roar of Drums, the Heralds ncake signal; the cordoro 
of encircling children .answer with a joyous shout of "All lisari.s 
and raising their erirollment blanks, enroll the audience and pa/' 
ticipantE, while the singers renew their final chorus.) 



The above is the substitution for 
the whole of page 43 of the book. 



Since Zotenberg published his epocJi-marXing 

'Not ice sur quelques manuRoritf^ d^js Mille et 
une Nuits, ' there has been no contribution to 
that study so useful as the bibliography of 
Professor Ohauvin of the University of Liege, 
the first part of which has lately appeared. 
It forms volione iv. of his great 'Bibliographie 
deR Ouvrages arabes ou^relatifs aux Arabes pub- 
lics dans 1 'Europe chretienne ae 1810 a 1885,* 
a most laborious and praiseworthy worK in 
continuation of the much less laborious and 
praiseworthy 'Bibliotheca Arabica' of Schnurrer. 
It is true that Professor Ghauvin does not make 
as brilliant discoveries and fertile combina- 
tions as those which we owe to the industry and 
sagacity of Zotenberg; his hypothesis, e, g,, 
that the final editor of the Elg^T^tian recension 
of 'The 1001 nights' was a converted Jew, and, 
perhaps, the figure known in Jewish literature 
as the pseudo-Maimonides, will probably not 
meet with much acceptance. But by his labors 
the bibliography of the 'Nights, ' printed and 
in manuscript. Oriental and European, has at 
last been put on a trustworthy foundation. For 
this voliiime does not, by any means, limit itself 
chronologically or geographically within the 
bounds of its title. It takes account of the 
editions of Galland, his translators, supple - 
menters and rivals, from, the first and dovm to 
the present time, and includes as well the 
various Arabic texts anci versions printec^ in the 
East. The knov:n manuscripts, too, are reckoned 
with, and the fullest details given that Prof- 
essor Ohauvin could gather up, as to their 
characters and contents. He describes further 
the different imitations, in good and in bad 
faith. Oriental and European, and gives tables 
of the contents of these as v/ell as of the texts, 
manuscripts, and translations of the great ori- 
ginra. References, too, we find for articles 
on the 'Niglits' and reviews of the principal 
editions: it is _much to knoy; where to look for 
v/hat De Sacy, PHickert, A. Muller, Leigh Hunt, 
August von Schleg'el, etc., had to say from their 
very different standpoints. Finally, when the 
second part has appeared, vjith analyses of all 
the tales, anecdotes, etc., accounts of their 
•editions when published separately, and indices 



-2- 

for the whole, ^."e ^hall have a bibliographical 
thesaurus of the first rank. 

As an illustration of the width and interest 

of this hook, the treatment given to Dr. Marrtrus's 
"translation" — sit venia verbo — may be adduced. 
The voliornes DUblished are bibliographically 
described, and extracts are given rroin the pre- 
face, and from an article by Dr. Mardrus in 
the Revue Rncyclopedique Larousse, on his own 
work and rnetho'ls. It is evidently written in 
defence, and is amusing enough. The claim to 
literality is repeated. He has used all the 
printed texts, and also certain manuscripts, 
but has relied, above all, on a manuscriT)t in 
his own possession, which had been the source 
of the first Bulaq edition. This brings out 
clearly the issue between Dr. Mardrus and the 
Arabists. V/hen we consider that it is by no 
means the habit of Egyptian printers to trouble 
tiiemselves with editing anc' abbreviating their 
"copv" — always excepting indices and such useful 
things w^ich"' they regularly cut down or out — 
also that the Calcutta edition is certainly 
a complete reproduction of a MS. brought from 
Egypt and full sister to that which lies behind 
the Rulaq edition, it seems clearly "tiip to" Dr. 
Mardrus — with permission for the slang — to sup- 
port his statements and translations by produc- 
tion of his MS. This matter of simple honesty 
is not to be confused with certain other points 
in which Dr. Mardrus undoubtedly has the right. 
His conception of a purely literary version, 
in which the idea of translating and the figure 
of the translator must remain in the background, 
and from which all apparatus of notes, learned 
or otherwise, shall be rigidly excluded, is the 
only possible one, 

On some few points Professor Chauvin can 

be corrected and supplemented. On p. 9, at 
the reference to De Wallemburg's 'Notice, 'it 
would have been well to add a cross-reference 
to p. P/M of Miiller's 'Sendschreiben' (19 J. on 
p. 6), where that notice is examined. On pp. 
117i f.. Professor Chauvi;-: is somewhat severe on 
Burton for citing the Bourdin edition of Galland, 
as edited by De Sacy. His suggestion that 
Burton has mistmderstood the title, "ne sachant 



-3- 

pas aanez l6 Pran^Jr.is," is enough to maXe that 
eninently French linguiGt turn in his grave. 
Chauvin hfir. himself misunderstoorl ~^urton, who 
(viii, 71) distinguishes betv;een De Sacy's 
"nd Bourdin's parts. The gravrunen of the accu- 
■ation against the great Arabist is really 
that he, to pJ.1 appearance, wrote his 'Menoire' 
v/ithout consulting the Arabic original. On p. 
116 Professor Chauvin han misseri the 'F^election 
from the Writings of Henry Torrens, with a 
Memoir by James Hume. Calcutta and London. 1854," 
It contains a reprint of all the verse and some 
of the prose in the single voluiie of the trans- 
lation of the 'Nights' v:hich Torrens printed in 
1839. P. 197, it would be interesting to K:now 
what is the authority for ascribing an Egyptian 
origin to Galland's manuscript. Zotenberg does 
not do so in his 'Notice, ' and an old note 
(A. D. 1548) in the nanuncript itself is dated ^^om 
Tripolis in Syria. The history of MS. C, 
on p. 198, may be pushed a stage farther back 
by reference to Humbert's 'Antliologie Arabe, ' 
By conparinon of pp. 9 and 157 of that book 
it can be established that the MS. in question 
— 4678-9 in the Paris Library — is a copy of a 
certain "beau manuscrit de M. Sabbagh, actuello- 
ment (1819) entre les mains de M. Baudeuf." 
The orif;inal MS. wa-s brought from Kgypt (p. 9, 
"apporte d'^gypte"), was in the hands of H. 
Baudeuf, and has nov/ vanished; a copy was m.ade 
by Mich.el Sabbagh (p. 157) for Oaussin de 
Perceval, pere, and is MS, 0. above. That there 
are so fev; points open to criticism shows how 
excellent a piece of work has been done by 
Professor Chauvin for students of t^e 'Nights.' 

From. THE EVENING POST: NEW YORK, 
SATURDAY, MARCH 2, 1901. 



Hi? 8 



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WILLIAMS PRINTING COMPANY, NEW YORK 


















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